Hemingway Chronology

1899 Ernest Miller Hemingway is born in Oak Park, Illinois, the second child of Dr. Clarence E. Hemingway (Ed) and Grace Hall Hemingway

1900 EH goes with family to their summer cottage in northern Michigan

1899/

1902 EH dressed in girl’s clothes as Marcelline’s twin

1905 EH enters first grade with year-older sister Marcelline

1917 EH graduates from Oak Park High School in June; takes a job as a cub reporter for the Kansas City Star in October

1918 in May EH sails to Europe to assume duties as a Red Cross ambulance driver in Italy; is badly wounded in Fossalto on July 8 while distributing chocolate and cigarettes to troops; meets and falls in love with nurse Agnes Von Kurosky while recuperating in Milan

1919 EH returns to US; receives a “Dear John” letter from Agnes, saying he is too young

1920 EH quarrels with his mother, who banishes him from Windemere (family vacation house in Northern Michigan) shortly after his 21^st birthday

1921 EH marries Hadley Richardson on September 3; provided with letters of introduction from Sherwood Anderson, the newlyweds leave for Paris after Thanksgiving, where EH writes dispatches for the Toronto Star and begins to write seriously

1922 EH meets expatriates Ezra Pound and Gertrude Stein; in December Hadley takes a train to Lausanne and en route loses a suitcase (stolen) containing the manuscripts to all of EH’s unpublished fiction

1923 EH goes to Spain for bullfights in Pamplona; briefly returns to Toronto for birth of his son, John Hadley (Bumby) in October; publishes Three Stories and Ten Poems in limited edition

1924 EH assists Ford Maddox Ford in editing transatlantic review, which prints “Indian Camp”; brings out slim in our time volume

1925 EH publishes In Our Time, containing several stories in northern Michigan depicting maturation of Nick Adams; in May meets and befriends F. Scott Fitzgerald

1926 Fitzgerald sends EH to Scribner’s and editor Maxwell Perkins, and the two (writer and editor) begin a life-long association, beginning with The Torrents of Spring (satiric attack on Sherwood Anderson and other writers) and The Sun Also Rises, one of his most famous novels

1927 EH publishes Men Without Women, a story collection that includes “Hills like White Elephants” and “The Killers”; is divorced by Hadley and marries Pauline Pfeiffer

1928 EH leaves Paris and moves to Key West; son Patrick is born; Dr. Hemingway kills himself with a .32 revolver

1929 EH publishes A Farewell to Arms in September; receives good reviews and sales, despite Boston censorship of serialized version in Scribner’s Magazine

1930 EH breaks arm in auto accident

1931 Son Gregory Hancock is born

1932 EH publishes Death in the Afternoon (non-fiction bullfighting book)

1933 EH publishes Winner Take Nothing, a book of stories that includes “A Clean, Well-Lighted Place”; goes to Africa for a safari, the setting for his two famous stories, “The Snows of Kilimanjaro” and “The Short Happy Life of Francis Macomber” (both published in 1936)

1934 EH publishes The Green Hills of Africa (big-game hunting and safaris)

1937 EH serves as a war correspondent during the Spanish Civil War; contributes funds

to Loyalist cause; publishes To Have and To Have Not, his most overtly political novel

1938 EH publishes The Fifth Column and the First Forty-nine Stories, comprising a play about the war in Spain and his stories to date

1939 EH separates from Pauline; moves to Finca Vigia, a house near Havana

1940 EH marries Martha Gelhorn; publishes For Whom the Bell Tolls, his best-selling

novel about the Spanish Civil War

1942 EH outfits his boat Pilar to hunt German U-Boats in the Caribbean (no encounters)

1944 As a war correspondent, EH observes D-Day and attaches himself to the 22^nd Regiment, 4^th Infantry for operations leading to the liberation of Paris; begins relationship with news reporter Mary Walsh

1945 EH is divorced by Martha in December

1946 EH marries Mary in March; they live in Cuba and in Ketchum, Idaho

1950 EH publishes Across the River and into the Trees, a novel about a December-May relationship savagely attacked by critics

1951 EH publishes The Old Man and the Sea, novella about the trials of Santiago, an old

Cuban fisherman; novella was published in its entirety in Life

1952 EH returns to Africa for safari with Mary; wins Pulitzer Prize

1953 In January, EH is severely injured in two separate plane crashes and is reported dead

erroneously in several accounts; awarded the Nobel Prize

1959 EH in declining health but observes bullfights in Spain for his 60^th birthday

1960 EH undergoes shock treatment for depression; on July 2 EH kills himself with a

shotgun at his Ketchum home

1964 A Moveable Feat is published posthumously, a memoir of his early years in Paris

1970 Islands in the Stream is published, a semi-autobiographical novel

1972 The Nick Adams Stories is published (includes previously unpublished stories)

1981 Ernest Hemingway: Selected Letters is published

1985 The Dangerous Summer is published (bullfighting); Dateline Toronto: The Complete Toronto Star Dispatches is published

1986 The Garden of Eden, a substantially cut and rearranged version of a manuscript is published; the story recounts the love affairs of two women and one man, which causes many EH critics to revise opinions about EH’s macho image

1987 The Complete Short Stories is published

Hemingway’s Prose Style:

Most critics agree that Hemingway’s fame depends as much on his prose style as on his content and subjects. His early style is lean, laconic, and devoid of strings of adjectives and adverbs. Lacking excessive modifiers, his sentences tend to be simple or compound declarative clauses; conjunctions are coordinating, rarely subordinating, so that items are arranged spatially or sequentially (not by cause or logic—Hemingway’s world is ruled more by fate and luck than by cause and effect and logic). The prose depends on nouns (many monosyllabic) for concrete imagery. There is a poetic use of repetition (learned in part from the bible and in part from Gertrude Stein) and a concentration on surface detail, on suggesting character through things said and done rather than through authorial asides and psychological analysis. Like his Imagist contemporaries, especially Ezra Pound, Hemingway sought the concrete detail that would capture the essence of the moment and convey its emotional content to readers. His bare-bones style is in part a reaction to the over-ornate Victorian prose and to the political rhetoric surrounding World War I. Obviously influenced by the techniques of journalism, it is also an attempt to strip away all that is false, misleading, and unessential. Among the elements that Hemingway shares with other Modernist writers are alienated characters and their rejection of conventional moral standards, a manner of presentation that, in its incomplete and fragmented manner, echoes the sense of a pervasive social disintegration. Often cited is Hemingway’s “iceberg” technique, where vital elements of a story are left out in order to force greater reader engagement (even rereading). The actual text read by readers is only the tip of the “iceberg”: readers are left to ponder what lies beneath.

Hemingway on his iceberg technique:

If a writer of prose knows enough about what he is writing about he may omit things that he knows, and the reader, if the writer is writing truly enough, will have the feeling of those things as strongly as though the writer has stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water.

I always try to write on the principle of the iceberg. There is seven-eighths of it underwater for every part that shows. Anything you know you can eliminate and it only strengthens your iceberg.

Lead Respondent Assignments


09/21, T
Gilman, “The Yellow Wall-Paper,” internet
Kim Hyde, Camille McDonald, and Christen Garcia

09/23, TR
Wright, “The Man Who Was Almost a Man,” internet
Brian McDermott, Lisa Allen, and Blake Cluck

09/28, T
Fitzgerald, “The Curious Case of Benjamin Button” [short story], internet
Libby Wandersee, Katelynn Badger, and Megan England

10/14, TR
“Literature and Politics,” 209-236 (CIM)
“Up in Michigan,” 59-62 (EH)
Kourtney Kinsel and Ryan Dunn

11/09, T
“The Short Happy Life of Francis Macomber,” 5-28 (EH)
Kara Lane, Clay Fox, and Robert Shepard

11/11, TR
“The Snows of Kilimanjaro,” 39-56 (EH)
Elizabeth Morgan and Landon Haaf

11/16 T
“Hills Like White Elephants,” 211-214 (EH)
Alaina Behan and Charity King

11/18, TR
“Cat in the Rain,” 129-131; “A Sea Change,” 302-305 (EH)
Katie-Rose Watson and Corinne Hodges

Engl 20923, Lit and Civ II
Williams, Fall 2010

Modernism:

As a term, modernism is most often used to identify the most distinctive forms, styles, concepts, and sensibilities in literature and art from roughly WWI to the post-WWII years. Since it is a broad intellectual movement, modernism varies widely in specific features, but most critics agree that it involves a deliberate and radical break with the traditional bases of both Western culture and Western art. Modernists were writers and artists who questioned the certainties and standard truths that had previously provided support systems for all social organization, religion, morality, and the conception of the human self. Modernists were influenced by late 19th century thinkers, such as Nietzsche, Marx, Freud, and Darwin. They were especially influenced by the savagery and slaughter of WWI.

The modernist revolt against traditional literary and artistic forms and subjects manifested itself strongly after the catastrophe of WWI, which shook human faith in the continuity and foundations of Western culture. The inherited mode of ordering a literary or artistic work—and for that matter of ordering the world—assumed a relatively stable and coherent worldview. But there was a general shattering of traditional beliefs and foundational truths after WWI, and there was a general emergence of a belief in the futility and meaningless of life, that the world was characterized by disorder rather than order, by anarchy rather than stability. Experimenting with new forms and styles, modernists explored the dislocation and fragmentation of parts rather than the traditional artistic concept of unity. Modernist writers subverted the conventions of earlier prose fiction by breaking up narrative continuity, departing from standard ways of representing characters, and violating the traditional syntax and coherence of narrative language. Such techniques have obvious parallels in the violation of representational conventions in the modernist paintings of Cubism, Futurism, Dadaism, Surrealism, and Abstract Expressionism as well as in the violations of standard conventions of melody, harmony, and rhythm by the modernist composers (Stravinsky, Copeland).

A prominent feature of modernism is the attempt to be “avant-garde,” a military term for “advance-guard.” Quite self-consciously, authors and artists attempted to, in Pound’s famous phrase, “make it new.” By violating accepted conventions and decorums, they undertook to create new artistic forms and styles and to introduce neglected, often forbidden subjects. Frequently avant-garde artists represent themselves as alienated from the established order, against which they assert their own autonomy. Their aim is often to shock the sensibilities of their audiences and to challenge the norms and pieties of bourgeois culture.

Literary Characteristics: free verse, stream-of-consciousness, objective correlative, imagism, multiple points-of-view, broken or fragmentary narratives, iceberg narratives, alienated characters, defiance of traditional values, taboo subjects, complexity.

“What Is Literature?”

Perhaps literature is definable not according to whether it is fictional or imaginative, but because it uses language in peculiar ways. . . . Literature transforms and intensifies ordinary language . . . if you approach me at a bus stop and murmur, “Thou still unravished bride of quietness,” then I am instantly aware that I am in the presence of the literary.

What was specific to literary language, what distinguished it from other forms of discourse, was that it “deformed” ordinary language in various ways. Under the pressure of literary devices, ordinary language was intensified, condensed, twisted, telescoped, drawn out, turned on its head. It was language made strange.

The idea that there is a single “normal” language, a common currency shared equally by all members of society, is an illusion. Any actual language consists of a highly complex range of discourses, differentiated according to class, region, gender, status, and so on, which can by no means be neatly unified into a single homogenous linguistic community. . . One person’s norm may be another person’s deviation.

If we were to stumble across an isolated scrap of writing from some long-vanished civilization, we could not tell whether it was poetry or not merely by inspecting it, since we might have no access to that society’s “ordinary” discourses.

The context tells me that it is literary, but the language itself has no inherent properties or qualities which might distinguish it from other kinds of discourse.

It is true that many of the works studied as literature in academic institutions were “constructed” to be read as literature, but it is also true that many of them were not. A piece of writing may start off life as history or philosophy and then come to be ranked as literature.

In this sense, one can think of literature less as some inherent quality or set of qualities displayed by certain kinds of writing all the way from Beowulf to Virginia Woolf, than as a number of ways people relate themselves to writing. It would not be easy to isolate, from all that has been variously called “literature,” some constant set of inherent features. In fact it would be as impossible as trying to identify the single distinguishing feature which all games have in common. There is no “essence” of literature whatsoever.

In any case, it is far from clear that we can discriminate neatly between “practical” and “non-practical” ways of relating ourselves to language. Reading a novel for pleasure obviously differs from reading a road sign for information, but how about reading a biology textbook to improve your mind? In many societies “literature” has served highly practical functions.

By and large people term “literature” writing they think is good.

Nobody would bother to say that a bus ticket is was an example of inferior literature, but someone might well say that the poetry of Ernest Dowson was. The term “fine writing,” or “belles letters,” is in this sense ambiguous: it denotes a sort of writing which generally is highly regarded.

The suggestion that “literature” is a highly valued kind of writing is an illuminating one. But it has one fairly devastating consequence. It means that we can drop one and for all the illusion that the category “literature” is objective, in the sense of being eternally given and immutable. Anything can be literature, and anything regarded as unalterable and unquestionably literature—Shakespeare, for example—can cease to be literature.

The reason why it follows from the definition of literature as highly-valued writing that it is not a stable entity is that value-judgments are notoriously variable. . . Just as people may treat a work of philosophy in one century and as literature in the next, or vice versa, so they may change their minds about what writing they consider valuable.

But it does mean that the so-called “literary canon,” the unquestioned “great tradition” of a “national literature,” has to be recognized as a construct, fashioned by a particular people for particular reasons at a certain time . . . “Value” is a transitive term: it means whatever is valued by a certain people in specific situations . . . we may in the future produce a society which is unable to get anything at all out of Shakespeare. His works may seem desperately alien . . . in such a situation Shakespeare would be no more valuable than much present-day graffiti.

The fact is that we always interpret literary works to some extent in the light of our own concerns . . . “Our” Homer is not identical with the Homer of the Middle Ages, nor “our” Shakespeare with that of his contemporaries; it is rather that different historical periods have constructed a “different” Homer and Shakespeare for their own purposes, and found in these texts elements to value or devalue . . . All literary works, in other words, are “rewritten,” if only unconsciously, by the societies which read them; indeed, there is no reading of a work which is not also a “re-writing.”

Excerpts taken from Literary Criticism, Terry Eagleton, 1983

Engl 20923, Literature and Civilization II, sec. 655
TTR, 2:00-3:20 PM, Winton-Scott 148

Literature and Civilization II is a course intended to explore the role of literary, rhetorical, and dramatic expression in the development of cultural ideas, institutions, and roles. As it is vetted for global awareness credit (GA), the course is intended to help students develop a critical awareness of global perspectives. As it is also vetted for Humanities credit (Hum), the course is intended to help students analyze texts, examine the nature and value of human life, and construct relevant arguments. Since literature and civilization are rather broad, ambiguous terms, and since Lit and Civ II covers 300 years of human activity, we will primarily focus on the Modernism’s revolt against the past and its influence on the present (and future).

Required Texts:

The Complete Short Stories of Ernest Hemingway, The Finca Vigia Edition (EH)
The Cambridge Introduction to Modernism (CIM)
Modernism: An Anthology (MA)

08/24, T
introduction

08/28, TR
What is literature?
What is civilization?
“A Clean, Well-Lighted, 288-291 (EH)
“The Second Coming,” Yeats, 308-309 (MA)
“The Psalm of Life” [handout]

08/31, T
“Introduction,” 1-34 (CIM)
Ezra Pound [intro], 39; “Portrait d’une Femme,” 41-42; “In the Station of the Metro,” 43; The River Merchant’s Wife,” 43; “Shop Girl,” 47 (MA)

09/02, TR
T.S. Eliot, [intro], 113; “The Love Song of J. Alfred Prufrock,” 114-117 (MA)

09/07, T
“The Avant-Garde and High Modernism,” 95-126 (CIM)
Yeats [intro], 301-302; “The Wild Swans at Coole,” 302-303; “Sailing to Byzantium,” 309-310; “Leda and the Sawn,” 325-326; HD [intro], 441; “Orchard,” 441; “Leda,” 448; Stevens [intro], 604; “The Snow Man,” 612 (MA) “The Emperor of Ice Cream,” handout.

09/09, TR
“Poetry,” 129-152 (CIM)
Modernist Poetry [various handouts]

09/14, T
“Prose Fiction,” 153-176 (CIM)
Joyce [intro], 211-212; “Araby,” 212-215 (MA)

09/16, TR
Ford [intro], 552; “The Miracle,” 561-566; Rhys [intro], 946; “Tea with an Artist,” 955-957 (MA)

09/21, T
Gilman, “The Yellow Wall-Paper,” internet

09/23, TR
Wright, “The Man Who Was Almost a Man,” internet

09/28, T
Fitzgerald, “The Curious Case of Benjamin Button” [short story], internet

09/30, TR
“The Curious Case of Benjamin Button [film]

10/05, T
in-class midterm

10/07, TR
library research

10/12, T
Fall Break

10/14, TR
“Literature and Politics,” 209-236 (CIM)
“Up in Michigan,” 59-62 (EH)

10/19, T
“Indian Camp” and “The Doctor and The Doctor’s Wife,” 65-82 (EH)

10/21, TR
“The End of Something” and “The Three-Day Blow,” 79-93 (EH)

10/26, T
“Cross-Country Snow,” 143-147; “Ten Indians,” (EH)

10/28, TR
Halloween!

11/02, T
“A Way You’ll Never Be,” 306-315 (EH)

11/04, TR
“Father and Sons,” 369-377 (EH)

11/09, T
“The Short Happy Life of Francis Macomber,” 5-28 (EH)

11/11, TR
“The Snows of Kilimanjaro,” 39-56 (EH)

11/16 T
“Hills Like White Elephants,” 211-214 (EH)

11/18, TR
“Cat in the Rain,” 129-131; “A Sea Change,” 302-305 (EH)

11/23, T
library research

11/25
Thanksgiving

11/30, T
“Under the Ridge,” 460-469; “Get a Seeing-Eyed Dog,” 487-491 (EH)

12/02, TR
final presentations

12/07, T
final presentations

Requirements:

1) Community Engagement: Community engagement and service learning are primary course components and are required of all students. The basic assumption behind service learning is that, by performing some type of community-engaged activity, students can gain significant experience in their specific subject areas—and into their own lives. There will be two formal interview exercises during the semester (interviewing a staff person and an international student) and two less formal activities that will explore global diversity on campus.

2) Blogging: To document your community-engagement activities, and as well to comment on your reading, you are required to keep an online journal or weblog. With the help of technology at Blogger (http://www.blogger.com?), you will build your own web log, or “blog,” and keep an electronic journal of your experiences as a student, as a reader, and more generally as an individual living in a complex world. You will be expected to write 8 brief one- to two-page reflections, describing your thoughts and reactions to your experiences as. You are required to write 4 of your responses on your community-engagement activities (2 reflecting on your experiences interviewing, and 2 on your explorations around campus). You are also asked to post 4 reflections of your reading experiences. To do this, you are required to describe your experiences as a reader for the texts assigned to 4 separate classes (choose texts that engaged your attention). What you write is up to you. You do not have to write a complicated literary analysis, analyzing and interpreting. I would prefer that you examine your experience as a reader. What happened when you read the poem or story? How—and why--did you respond to what you read? You are also welcome to use your blog to reflect on your experiences throughout the semester, commenting on whatever moves you to write. But please remember that a blog is not a personal—and private—diary.

Blogging is a less formal form of writing than an essay, and thus blogs are a good forum to reflect, analyze, vent, explore, and consider. But blogs are also a public form of writing and, because of the technology, an excellent way of sharing, collaborating, and responding. In addition to posting your own blog entries, you will also be required to post brief half-page responses to 4 other student blogs throughout the semester (meaning you have to read what others are posting). You are welcome to comment on any of the other course blogs, but please vary the blogs you respond to. Please do not respond to the same blog (and person) but to 4 separate blogs.

Please keep in mind that blogs are a public forum, accessible to anyone who has internet access, so please do not post anything that you would not share with the classroom and internet communities.

We will use our course blogs as an open dialogue to reflect on our experiences in Literature and Civilization.

3) Midterm and Final Exams: There will be both midterm and final essay exams, and both exams will have two parts, a take-home essay and an in-class short answer exam. These exams will not simply test for familiarity with course content, but will also be used to reflect on your learning experiences. My intention is not to assess your specific knowledge of texts and authors, but to encourage you to examine your experiences as a student, both in my course and in all your courses.

4) Quizzes. In most classes there will be short quizzes (3-5 questions). The questions will serve as a reading check, but they will also be used to generate discussion. The quizzes will be graded on a point scale, with 3 for excellent, 2 for good, and 1 for acceptable. At the end of the semester you will receive a cumulative score for your quizzes. Quizzes will be collected and returned.

5) Lead Respondent Assignment: Throughout the semester students will be asked to help lead our discussions, and these discussion-leader assignments may be undertaken individually or in small groups (maximum of 3). Each individual or group will choose a specific class day and will be expected to make a presentation on the primary texts assigned for that. These presentations may include biographical or historical information about author, the composition and structure of the texts, summaries of significant material, and analysis of themes and issues. More importantly, these presentations should also include a brief discussion of what the individual (or group) thinks is relevant in the text and a list of questions for discussion. These presentations should be informative and provocative. Yet at the same time they should also be enjoyable! I encourage you to consider creative suggestions for stimulating interest and arousing attention. Dramatizations may be videotaped, parts of texts acted out, and character roles performed. Multimedia presentations are always welcome. You should think about how you can make these presentations engaging.

A brief handout summarizing key points, pertinent information, and listing the questions
for discussion is required.

6) Library Research: Twice during the semester (10/07 and 11/23) you will be asked to conduct original research in the library by reading and commenting upon an early twentieth-century magazine (such as Life, Vogue, Saturday Evening Post). On these days we will not have class, and you will be expected to conduct your research. I ask that you find a specific issue of an original magazine from the 20s or 30s, and I would like you to write a 2- to 3-page response about what this particular issue was like. What were the articles and advertisements like? What kind of world did they depict? What were your responses to this magazine? These responses will be due the class following the research days (10/14 and 11/30). Late responses will not be accepted.

7) Final Presentations: For your final assignment, I would like you to put together a multimodal project that presents a reflection of your thoughts, observations, and experiences throughout the semester. Consider what you have learned that was interesting, striking, or memorable. These projects may include photographs, videos, sketches, recordings, music, prose, and poetry. You may use Power Point or present a video, or use other forms of multimodal presentation. Please be as creative as you like. As with the lead respondent assignments, please consider how to engage your audience’s attention. Along with your presentation, you must submit a 2 to 4 page explanation and justification of your presentation. These projects may be done individually or in small groups (maximum of 3). If done as a group project, each person's individual contributions must be apparent.

What you do in your final presentations is up to you, and part of the assignment is figuring out what to do. You can focus on a specific story or poem, or on a combination of stories and poems, or even on an entire series or theme that you found informative and interesting. This should be an opportunity to assess what you have learned.

8) Participation and Attendance: I am not formally setting an attendance policy, and you are responsible for your own attendance. I caution you, however, to keep in mind that the blog entries and quizzes cannot be made up or turned in late. Also, please keep in mind that active participation is a course requirement and weak participation will lower your final grade. Both written and verbal contributions will count towards participation.

9) Sense of Humor and An Appreciation of Irony: I also ask for your patience, understanding, and good humor. I sincerely wish that all of us enjoy our work together this semester, and I ask for your help in making this course a success.

Grading Scale:

Midterm and Final Exams: 30% (15% each)
Community Engagement and Blogging: 15%
Quizzes 15%
Lead Respondent Assignment 15%
Final Presentations 15%
Library Research 10%

Given the nature of human frailty, all of the above is subject to change

Dan Williams
Reed 414D and TCU Press (3000 Sandage)
817-257-6250, 817-257-7822
Office Hours: Friday, 10 to 12 AM, and by appointment
d.e.williams@tcu.edu

Course Outcomes:

--Students will analyze representative texts of significance and practice critical analysis of these texts
--Students will explore texts in terms of multiple cultural heritages, aesthetic approaches, and ideological perspectives
--Students will demonstrate critical awareness that problem solving in the global community requires the integration of a variety of perspectives
--Students will learn how to evaluate sources from a variety of perspectives and to use those sources
--Students will demonstrate through reading responses, informal writing, and class discussion a critical engagement with intellectually challenging texts
--Students will incorporate additional media into the composing products produced
--Students will demonstrate strategies of literary analysis through writing about the assigned texts in class
--Students will identify representative authors and works in a particular literary tradition
--Students will gain an appreciation of the development of the short story in a global perspective
--Students will gain pedagogical experience, and develop greater sensitivity to significant cultural issues, by working closely with a Latino/a Physical Plant employee

Academic Conduct: An academic community requires the highest standards of honor and integrity in all of its participants if it is to fulfill its missions. In such a community faculty, students, and staff are expected to maintain high standards of academic conduct. The purpose of this policy is to make all aware of these expectations. Additionally, the policy outlines some, but not all, of the situations which can arise that violate these standards. Further, the policy sets forth a set of procedures, characterized by a "sense of fair play," which will be used when these standards are violated. In this spirit, definitions of academic misconduct are listed below. These are not meant to be exhaustive. I. ACADEMIC MISCONDUCT Any act that violates the spirit of the academic conduct policy is considered academic misconduct. Specific examples include, but are not limited to: A. Cheating. Includes, but is not limited to: 1. Copying from another student's test paper, laboratory report, other report, or computer files and listings. 2. Using in any academic exercise or academic setting, material and/or devices not authorized by the person in charge of the test. 3. Collaborating with or seeking aid from another student during an academic exercise without the permission of the person in charge of the exercise. 4. Knowingly using, buying, selling, stealing, transporting, or soliciting in its entirety or in part, the contents of a test or other assignment unauthorized for release. 5. Substituting for another student, or permitting another student to substitute for oneself, in a manner that leads to misrepresentation of either or both students work. B. Plagiarism. The appropriation, theft, purchase, or obtaining by any means another's work, and the unacknowledged submission or incorporation of that work as one's own offered for credit. Appropriation includes the quoting or paraphrasing of another's work without giving credit therefore. C. Collusion. The unauthorized collaboration with another in preparing work offered for credit. D. Abuse of resource materials. Mutilating, destroying, concealing, or stealing such materials. E. Computer misuse. Unauthorized or illegal use of computer software or hardware through the TCU Computer Center or through any programs, terminals, or freestanding computers owned, leased, or operated by TCU or any of its academic units for the purpose of affecting the academic standing of a student. F. Fabrication and falsification. Unauthorized alteration or invention of any information or citation in an academic exercise. Falsification involves altering information for use in any academic exercise. Fabrication involves inventing or counterfeiting information for use in any academic exercise. G. Multiple submission. The submission by the same individual of substantial portions of the same academic work (including oral reports) for credit more than once in the same or another class without authorization. H. Complicity in academic misconduct. Helping another to commit an act of academic misconduct. I. Bearing false witness. Knowingly and falsely accusing another student of academic misconduct.

Disabilities Statement:

Texas Christian University complies with the Americans with Disabilities Act and Section 504 of the Rehabilitation Act of 1973 regarding students with disabilities. Eligible students seeking accommodations should contact the Coordinator of Services for Students with Disabilities in the Center for Academic Services located in Sadler Hall, 11. Accommodations are not retroactive, therefore, students should contact the Coordinator as soon as possible in the term for which they are seeking accommodations. Further information can be obtained from the Center for Academic Services, TCU Box 297710, Fort Worth, TX 76129, or at (817) 257-7486.

Adequate time must be allowed to arrange accommodations and accommodations are not retroactive; therefore, students should contact the Coordinator as soon as possible in the academic term for which they are seeking accommodations. Each eligible student is responsible for presenting relevant, verifiable, professional documentation and/or assessment reports to the Coordinator. Guidelines for documentation may be found at http://www.acs.tcu.edu/DISABILITY.HTM.

Students with emergency medical information or needing special arrangements in case a building must be evacuated should discuss this information with their instructor/professor as soon as possible.